Madang Kut uses ritual enactment to reconstruct a collective life of harmony based on the spirits of playfulness and inclusiveness. By transforming socially oriented theater into a shamanistic ritual act, the performers and spectators can create collective ecstatic moments, a truthful portrayal of reality, a practical method of social change, and a healthy image of the people - the four essential elements of madang kut. this transition from theater to ritual allows a onstant invocation of social memories and realitites that, in turn, transforms silenced histories of han
into healthy histories of shinmyong and also offers possibilities for constructing an alternative history. (Performing Democracy: Contemporary Madang Kut of South Korea: Dong-il Lee)
Heart Play
My thoughts are wounds in my head. My brain is a scar. I want to be a machine. Arms to drag legs to walk no pain no thinking. (Heiner Müller , 'Hamletmachine' ) Heartplay A May I lay my heart at your feet. B If you don't make a mess on my floor.. A My heart is clean.. B We'll see, won't we.. A I can't get it out.. B Would you like me to help you.. A If you wouldn't mind.. B It'll be a pleasure. I can't get it out either.. A cries. B I will remove it surgically. What have I got this penknife for anyway. We'll have this sorted out in no time. work will keep you from despair. Right, there we are. But this is a brick. Your heart is a red brick.. A Yes, but it beats only for you.. (1981) A beats B to death with the brick.. (Addition, July 1991). ------------- Heiner Müller ----------------- from Heiner Müller Theatremachine translated and edited by Marc von Henning
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